The Art of the Medal

THE ART OF THE
MEDAL

BY

VICTOR D. BRENNER

THE ART OF THE
MEDAL

THE ART OF THE
MEDAE

BV

VICTOR D. BRENxNER

NEW YORK
1910

THE ART OF THE
MEDAL

IT is said that the fourth century B.C. saw the first piece
of metal with an imprint. As civilization advanced
and the necessity for a medium of exchange increased,
pieces of metal were used and made standards of value.

Each piece of metal was melted separately and weighed
to contain a certain value. Some of the early coins were
bean-shaped or oval. They had the guaranty of the gov-
ernment on one side and four square holes on the other.
These four holes merely show the projections of the iron
upon which the piece of metal was placed in order to
prevent it from slipping while the device was being
struck.

Whether the devices on the early coins were struck with
a steel die or with a hardened brass or copper die is still
a matter of speculation. The method might vary accord-
ing to locality. Later we find coins bearing a device on
both sides, and this necessarily required more compli-
cated tools.

From the specimens found in ancient ruins — one of
which is to be seen in the Cabinet of Medals in Paris— we
find that, in order to bring the two dies in a fixed position
facing each other, a long piece of iron was welded or fas-
tened to each die, these two pieces being joined together
somewhat after the fashion of a pair of tongs. The metal
was then placed between the dies, and the imprint made
by the blow of a hammer. The dies seem mostly to have
been cut intaglio with a chisel and hammer, as is done in
the carving of marble. The stone-cutter’s wheel or drill
may also have served the die-cutters of that day.

There are but two ways that can be employed in the pro-
ducing of a coin or medal: casting of molten metal in a
stone or sand mold, or by striking between dies, as already
described. This process of making coins was a very slow
one, for it required several blows with a hammer to pro-
duce a full impression of the engraving. After every blow
the piece of metal had to be reheated and placed in the ex-
act position to meet the engraving, in order not to deface
the relief already obtained. The hot piece of metal was
held in position by a pair of tongs. This operation re-
(]uired three persons: one to hold the die, another to place
the metal, and a third to strike the blow. Indeed, in many
of the coins of that period now extant a double outline is
seen, because the metal was not placed in its proper posi-
tion when it received the last blow. In Greece the medal-
lie art attained a high degree of perfection, exemplified
by the work of Evaenetos.

In the Syracuse medal Evametos shows a happy com-

bination of spirit, movement, mass, and detail. Not only
is there a noble interpretation of the individual forms and
their proper relation to the whole, but also an extraordi-
nary decorative sense woven into every line, giving to the
empty spaces as much charm as to the modeled surfaces.

Modeling on a bas-relief for reduction

The studies for these dies must have been quite similar
to our own, sketches in soft wax being made for the com-
position. For the final model a slate may be used in order
to have an even surface, or a background of wax upon
which the design is traced with a point. Bit by bit the
wax is applied until the full modeling of the design is
made. The wax models were made in the exact size of
the finished coin or medallion.

Cutting bv hand with graver on relief die.

'rhe translation of the model is made by tracing with a
steel point upon a soft steel block called a die when it is
cut intaglio or called a punch when cut in relief. Jn
the process of cutting into the steel, the left hand holds
the die firmly in position; in the right hand is held a steel
engraving-tool called a burin, with which the die is cut
by the pressure of the palm guided by four fingers. The
thumb is used as a counterbalance on the die, so as to stop
the pressure when the desired depth and length are
reached.

The engraver carefully cuts into the steel with his burin,
following the lines of the design, and almost after every
cut of the tool the artist takes wax impressions of his die
to see the progress of the work and to be sure that it agrees
with the original wax model. A trained engraver’s hand
will in time develop such accuracy of touch that in lead-
ing his graver he can feel the direction of the cut or curve
of line, no matter in what depth it may be.

Showing cameo and negative die.

This process of cutting does not vary from the cutting of
a cameo, except that in cameo-cutting the work is in relief
and no wax impressions are necessary. The advantage of
cutting a cameo or relief die is that several intaglio dies
can be prepared from it by sinking the cameo into a soft
block of steel, thus saving the necessity of cutting a new
die in case of its breaking. After tbe die is cut, whether
intaglio or cameo, it is hardened by heating and plunging
into water.

Some hundred years before the introduction of the screw-
press as applied to the striking of coins and medals — an
invention of the latter part of the sixteenth century — roll-
ers were used on which was engraved the required design,
through which a strip of metal was run, thus obtaining
as many impressions as the length of the metal permitted.
The surplus metal \vas then cut away with shears or a saw.

Showing dies and collar, also engraver’s tools and bench.

The screw-press brought with it important improvements,
among which were a ring to encircle both dies, and disks
which were cut uniform in size and thickness by means of
a positive punch fitting into a negative. These disks,
being somewhat smaller than the actual design, are placed
between the dies, which are held together by the ring.
The disk, being pressed, spreads and fully fills the ring,
and thus the uniform appearance and thickness of all im-
pressions is obtained.

For a long period small punches were used in the prep-
aration of dies. Later larger punches, bearing the entire
emblem which was to make the center of the coin or
medal, were sunk by means of the press into the negative
dies. This process necessitated the cutting of the border
by hand or by lathe.

Reducing machine.

I, Model; 2, reducing steel die; 3, bar.

I'he reducing-machine invented by Contaniin early in the
nineteenth century is a kind of pantograph. A steel point
follows the surface of the model and transmits, hy means
of a bar, its movements to another point which cuts the
design into the steel to a reduced scale. The models are
made four or five times larger than the actual size.

This machine saves the artist much of the tedious work
required in the cutting of dies by hand. It copies the
model with slight modifications, and if due allowance
has been made, it will need but little retouching in the die.

IVcssing a medal by hydraulic pressure

The striking of a medal is entirely mechanical, and is
done either by hydraulic pressure or by the screw-press.
The metal disk is placed between the dies, and pressed
until the full image is obtained. The number of press-
ings necessarily depends upon the height of the relief re-
quired. After each blow tbe metal disk is annealed. Tbe
coloring of tbe medal is obtained by tbe application of
burnt sienna, liver of sulphur, or sal ammoniac for
bronze. For silver, any oxide that will give a dark back-
ground is used. The shading of the surfaces is brought
out by means of pumice-stone.

Cast medals, another phase of the medallic art, are known
to have existed as early as the fourth century E.C. The
Romans used them as marks of distinction and as passes
to the theater and games. Among the Chinese they were
used as a kind of amulet.

In the Renaissance this form of medal became popu-
lar with Vittore Pisano of Verona, a painter of reputa-
tion, who was active as a medalist from 1439 to 1449. His
ability as a medalist crowned him the foremost of his time.
The portraiture of his men and women reveals their
noblest traits. Pisano displayed great economy in drafts-
manship and is unrivaled in his foreshortenings. His
medals were all cast by the cire perdue process.

Attracted by his success, a great demand arose for por-
traits and allegories in the medal. Pisano also had many
followers in his own country, and Germany and France
sent their artists to study the medal in the place of its
origin.

Jl. JL Jf.

d'he process now followed in the making of the cast medal
differs very little from the earliest methods. It is first
modeled in wax; then plaster-of-Paris molds are taken,
from which several positive plaster casts are made. These
casts are then formed into a mold of sand or of plaster
and asbestos, which constitutes the mold to receive the
metal.

J. J, JL Ji.

d'he casting by the eire perdue process differs from tliat
ployed in a sand mold. Instead of making a plaster mold
from the original wax model, a mold of clay preparation
is made directly on the wax model, covering both sides

of the model and leaving an opening for the wax to run
out when the mold is heated. After the wax is drawn out
the molten metal is poured in its place.

* J. Ji. JL JL

The century after Pisano's time saw a decline in the cast
medal and a rise in the die medal. The jewelers succeed-
ing the Renaissance period also produced chased medals
or repousse and flat-engraved medals.

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The process of making a chased medal consists of cutting
a thin sheet of metal to the required size. The design is
drawn upon it and placed on a bed of lead; various-
shaped punches are used to hammer out the relief. The
metal is then reversed and the outline enforced with a
sharp edged tool.

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In Austria a school was opened for the education of med-
alists by Maria Theresa in 1768, and in 1803 ^ school
was established by the French government at Paris, as a
part of the Ecole des Beaux-Arts.

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The so-called modern renaissance of the medallic art had
its birth in France in the early part of the nineteenth cen-
tury. The most active medalists were David d’Angers,
Oudine, and Ponscarme. Phider the guidance of Pons-

carme the famous medalists Chaplain, Roty, and Char-
pentier studied.

JL Jh Jf- Jh

In Chaplain’s works a remarkable boldness of plan, sober
draftsmanship, and a fondness for heroic figuration are
noticeable. He excels in the characterization of the sub-
ject without losing the classical element.

4' 4

Roty’s art reveals other phases of thought. His art is
saturated with the sensitiveness, imagination, and grace
of the French character. He is both daring and subtle in
his technique. Poetry and truth are delightfully mingled
in his allegories and symbols. His draperies and gar-
ments display harmonious folds with exquisite trans-
parency.

A 'i' X

Daniel Dupuis was another happily gifted French med-
alist.

J. X JL 4

Yencesse, much inspired by the reliefs of Ponscarme,
wrought into his work great subtlety of plan and effective
color.

+ + 4

Alexander Charpentier proved himself remarkably gifted,
and gave his individuality to many medals and plaques.
A great many of his plaques depict the daily life of the
worker. His interpretation of form is distinctive in its
simplicity and boldness. He is a realist of the highest

order, who discarded all tradition in composition without
losing the exquisite sense of the decorative.

X J. 4. X

The Vienna school had its Boehm, Scharff, Pawlik, Mar-
schall, and many others.

Scharff, pupil of Boehm, left a large series of medals
and medallions of exquisite delicacy of technique and
composition distinctively Viennese.

Pawlik, a close follower of Scharff, produced a number
of charming medals and plaques.

Marschall, now the foremost medalist of Vienna, has
imbibed the modern decorative spirit and has already
produced a large series of portraits and compositions full
of grace and charm.

The field of the medal is unlimited.

Victor D. Brenxer.

Coin produced by rollers, 1633.

Medal of Elizabeth of England, 1587, cut directly in the dies
with the aid of punches.

Struck medal from dies cut intaglio and punched letters, 1687

Struck medal from intaglio-cut dies, 1556.

Cast medal from a lead impression taken from intaglio-cut dies by Warin, 1630.

Cast medal by Matteo di Pasti, 1450.

hand with the aid of punches,

Struck medal from intaglio-cut dies, ornament and letters punched, by A. Schega, 1742.

Struck medal from intaglio-engraved dies, with punched ornament
and letters, by George, 1802,

Struck meda], bust and letters punched, interior on the reverse cut intaglio, by I. Bianchj.

Chased medal by Peter Van Abeele of Holland, 1660.

Engraved medal made in 1651.

Medal by Chaplain, dies cut by machine, 1890.

Plaquette by Roty commemorating the funeral of President Carnot,
dies cut by machine, i 894.

Plaquette bv Paul Du Bois, showing the impressionists’ tendency in low-relief

modeling, 1903.

Plaquette by Alexander Charpentier, representing
painting, dies cut by machine.

Medal of Leopold of Bavaria by Hugo Kaufmann, contemporary sculptor and
medalist, cut in steel by means of the reducing-machine.

Struck medal from cameo-cut dies bv A. ScharfF.

Struck medal from a cameo-cut die of the obverse, reverse cut intaglio,

by A. Scharff, 1883.

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